Tuesday, January 13, 2009

By all accounts, the Stanford-based critic-poet Yvor Winters was prickly. His views on what modernism was good and what bad (usually, the earlier and the more "precise"/imagistic the better). His view on Stevens (the early modernist, detached, comic ironic short stuff of Harmonium was good, the later rhetorically blown-up long-lined essayistic poems, poems made of philosophical propositions, were bad) had a huge effect on a generation of teachers who thought that to teach Stevens one had to teach only "Sunday Morning" or "Ploughing on Sunday." His view on William Carlos Williams: early short stuff good, late stuff sloppy and imprecise.

Winters could be brutal. As I write this now I'm looking at an unpublished letter from the Poetry Magazine archives - from William Pillin (a poet known as a left-winger in the 1930s) to then-editor Hayden Carruth: "Dear Mr. Carruth: / Will someone tell Mr. Winters to get off my toes? / His rude designation of my craft as a refuge to 'fairies and fantasists' is insulting and untrue."

Carruth turned to Winters in 1949 and asked Winters to help him revive Poetry, which Carruth felt was falling into an after-modernism-now-what? stupor. Winters was a symbol of some kind of pure pre-1930s modernism, so it made sense for Carruth to turn to him. On April 14, 1949 Winters replied to this request, and here is part of what he wrote to Carruth: "You say that your job is to rehabilitate the reputation and hence the usefulness of Poetry. It is a big job. Poetry has had every advantage save one, for years: it has had money, or at least enough money; it has had circulation and established reputation; but it has lacked editorial brains and has lacked them absolutely. I don't know whether or not you are the answer, but maybe you are."

He then recalled that he'd tried to get Harriet Monroe (P's founding editor) to print Hart Crane, "and she wouldn't do it till he was famous in spite of her and past the point where he could write decently." He'd fought with her for years to get Allen Tate into the magazine. He wanted his protege J.V. Cunningham there; Monroe printed just one JVC poem. "Other people of talent whom I have recommended have been turned down cold, including Howard Baker."

Howard Baker. I've read the poems (and criticism) of Howard Baker (believe it or not). Baker, he ain't no Williams or Pound. (Of course I don't mean the Senator from Tennesee, he of "what did he know and when did he know it" fame.)

Winters goes on to recommend that Carruth publish these:

[] Edgar Bowers ("on his way to being a great poet")[] Donald Drummond (brilliant although uneven)[] L. F. Gerlach[] C.R. Holmes[] Wesley Trimpi (anothner Stanford guy who went on to a distinguished academic career but not much as a poet)

Okay? Got it?

Now you know what Poetry would have been like if Winters had gotten his way.

In his memoir of 1992 (Their Ancient Glittering Eyes: Remembering Poets and More Poets), Donald Hall describes Winters as poetically conservative but politically a liberal democrat. "On the other hand," Hall wrote, "if we use political labels seriously, not as in American party politics but as indices of intellect and spirit, Winters was high Tory, with a Tory's respect for personal liberty and reverence for precedent and durability."

Durability. Well, maybe in the hopeful sense Hall means. But when I think of Winters as standing for durability I also have to think of Winters the Stanford mentor who pushed forward Edgar Bowers because he was a poet who would last.

Hall also wrote that "In my time, graduate students in English at Stanford were either for Winters or against him" (p. 132).

John Felstiner, the great translator and promoter of Paul Celan, joined Stanford English as an Assistant Professor in 1965. He loved Williams' poetry and wanted to teach the stuff to the Stanford freshmen. So he put together a little mimeographed anthology of WCW poems and then went down to the office of his senior colleague, Yvor Winters, to ask the elder what he thought of this collection of WCW's poems. It was Felstiner's very first interaction with Winters. To find out what happened next, listen to an excerpt from a talk Felstiner gave to Stanford alumni in 2008 (link below).

So while we're on the topic of Yvor Winters' contribution to the counter-revolution of the word - the rolling back of the messy, rhetorical, post-imagist, political modernism after the '30s (the era in which Winters went poetically to the Right) - ponder the moral of Felstiner's surprisingly angry anecdote. It took him years, he said, to discover that Williams had written a kind of poetry other than what Winters abruptly deemed worthy of the attentions of this junior colleague. You can hear the bitterness in Felstiner's voice about this, even all these years later. Listen to it. It's there.

Here's your link to John Felstiner on Yvor Winters on William Carlos Williams.

guess who reads poetry?

1960

non-fixed materials

"I teach horizontally, meaning that while I might begin with a fixed idea of what I'm going to teach that day, I let it drift rhizomatically way off topic, often pulling it back when it gets too far. I rely on non-fixed materials to teach this way; the whole world is at my fingertips. Should I go off on a tangent about John and Rauschenberg and their love relationship as expressed in Rauschenberg's bed, an image of that bed is always a click away. From there, we can head anywhere into the non-fixed universe, be it film, text or sound. And of course, that always takes us elsewhere. As Cage says, 'We are getting nowhere fast.'" MORE...

praise

Jack Kimball's blog: "I guess it's no surprise Al Filreis runs one of the best pedagogic blogs. It operates as a topical resource portal, jammed with research ideas, a bloggy palliative for chronic unfocusedness."

William F. Buckley...

Howe on Dickinson

PennSound Daily

on writing about 9/11

'To write well about catastrophes, especially catastrophes that—thanks to media immersion—“everybody knows,” requires a difficult hybrid of concentration, severity, delicacy, nearness and distance. I don’t know that anyone has yet got the imaginative measure of that terrifying day six years ago. Certainly our Tolstoy has not crawled out of the rubble. The closest we have, Don DeLillo, succeeded as an essayist-journalist ("In the Ruins of the Future: Reflections on Terror and Loss in the Shadow of September,” Harper’s, December 2001) but, to my mind, failed as a novelist ("Falling Man"). One reason, perhaps, is that the remembered emotion was instantly buried under a pile of cultural junk.' - Tod Gitlin in his review of Susan Faludi's The Terror Dream (written for Truthdig.com). MORE...

absinthe...

so much to be scared of

I dislike

Alan Cranston's anti-fascism

When he returned to the United States, he saw a translation of Hitler's Mein Kampf for sale and, having read the original, recognized that it had been watered down to make it less worrisome to Americans, he said. So he quickly brought out an unauthorized, fuller translation and sold half a million copies of it for 10 cents apiece until the Third Reich sued him for copyright violation.

this blog supports open access

[click on the image for more]

modern art not nuts

After looking at an abstract mural at the U.N. then President-elect Eisenhower said, "To be modern you don't have to be nuts."

teaching Ashbery

after Auschwitz...

Writers House on Facebook

WCW's NJ, that impossible object

"If you go to Paterson, you may now happen upon a secret shrine to William Carlos Williams' poem. Although, it might not be there anymore. Composed of trash the Education Department leaves in the abandoned Hinchliffe Stadium (e.g. busted file cabinets, waterlogged textbooks, wobbly bookcarts), the shrine is itself subject to the vagaries of what constitutes trash and what art . . . and what, for that matter, desirable furniture. After the first day, the "library" aspect of the shrine--a small bench facing a bookshelf under a tree sprouting from the concrete and stocked with English textbooks and xeroxes of Paterson in baggies--was disrupted when someone must have realized that the bookshelf was indeed still a good book shelf, and took it away (even though it may have been there for years.) It must have been a critic, because they also let their dog "have their way" in the shrine as well."--from the blog New Jersey as an Impossible Object

electronic pedagogy

Magazine story published in 2001 about my use of e-media in teaching. "Postmodernist poets focused on the process of their poetry, rather than on what the words in their poems actually said. The purpose was to make poetry and language new again. There's no better way to describe Filreis' teaching style. He uses technology to free class time for discussion, which to Filreis is more important than the course material itself. The point is to develop his students' ability to think critically, not to have memorized every last fact about Gertrude Stein. And yet, he said, through that active engagement with the material, students end up remembering more of the content."

Erica Baum

mornings with Bob

"My favorite memory of Bob Lucid is from when he led the summer in London program in 1985 that I attended. He turned up one morning for class, seemingly drunk, and announced, 'What the world really needs is a good breakfast wine!'"--Ilona Koren-Deutsch

can't stop saying I dislike it...

Robert Lowell:

cognac

toasting the real Oskar Schindler

A hundred and twelve people were...

...asked to sign a petition that contained nothing except quotations from the Declaration of Independence and the Bill of Rights. One hundred and eleven of these people refused to sign that paper. [LINK]

poetry

‘Nothing is so sacred or so despicable that it cannot, at some time, be uttered as poetry.’--Alan Loney

Tom Short, an itinerant evangelist brought to campus by the Texas A&M Christian Fellowship, told one student that, because she is Jewish, she is going "to burn in Hell." He told another Jewish student that "Hitler did not go far enough."

UbuWeb

Between the high detail of the foreground and the abstract distance of the horizon, the reader is invited in. One can take one’s stuff; it is quite roomy. It is the space, say, of a city square, an open market, a corner bodega, a hotel lobby. Here we greet each other, exchange information and opinion, but because we are on our way elsewhere, a certain civility prevails; we do not intrude, or impose.

which is us, which them?

Wallace Stevens writing about a friend's mule and cow:

Somehow I do not care much about Lucera. I imagine her standing in the bushes at night watching your lamp a little way off and wondering what in the world you are doing. If it was she, she would be eating. No doubt she wonders whether you are eating words. But I take the greatest pride in now knowing Pompilio, who does not have to divest himself of anything to see things as they are. Do please give him a bunch of carrots with my regards. This is much more serious than you are likely to think from the first reading of this letter.

Tony Green of New Zealand

one of his word scultpures

Samuel Johnson on the lecture

"Lectures were once useful; but now, when all can read, and books are so numerous, lectures are unnecessary. If your attention fails, and you miss a part of a lecture, it is lost; you cannot go back as you do upon a book... People have nowadays got a strange opinion that everything should be taught by lectures. Now, I cannot see that lectures can do as much good as reading the books from which the lectures are taken. I know nothing that can be best taught by lectures, except where experiments are to be shown. You may teach chymistry by lectures. You might teach making shoes by lectures!"

Some Trees 2006

poetry would survive a post-literate situation

"I'm saying that the domain of poetry includes both oral & written forms, that poetry goes back to a pre-literate situation & would survive a post-literate situation, that human speech is a near-endless source of poetic forms, that there has always been more oral than written poetry, & that we can no longer pretend to a knowledge of poetry if we deny its oral dimension."--Jerome Rothenberg

how to write

The minute you disperse a crowd you have a sentence.--Gertrude Stein, How to Write